This is kind of cheating on this easy recipe.
Open two cans of Old El Paso (or other) enchilada sauce and put in a crock pot.
Stir in a little ground cumin.
Take a good cut of your favorite steak and cut all the bone and fat away.
Cut into cubes and add this to the crock pot.
Cook slow until the meat is tender.
Add a small can of cooked chile beans and a small can of green peppers.
Serve onto warm plates and sprinkle a small pinch of Mexican oregano entero on.
Side with saffron rice and garnish with a sprig of cilantro and some spicy pickled sliced carrots or radish.
You can serve these with warm tortillas or you make tacos or burritos with it.
I didn't have all the ingredients when .
Good stuff ~♥~ Have some Rolaids handy !

I'm a recent convert to the iMac world, but remain confused about the best way to import any photos I've taken with my iPhone onto the Mac. When I connect the two with a USB cable, Photos pops up. I select the photos I wish to export to the Mac, go to File/Export and then I have an option of either "Export nn photos" or "Export Unmodified Original ...". If I take the first option, I have a choice of format - JPEG, TIFF or PNG. The TIFF files are huge (24MB) and, closeup, don't seem to be noticeably more clear than the JPEGs. If I chose the Unmodified Original option, I don't have a choice of format -- it's just JPEG, with a file size around 2MB. Is one of these methods superior to another (a) if I want to do further post processing, or (b) I don't? The "Unmodified Original" sounds like what I should use, but perhaps the title is misleading.
Any insights you can provide would be most appreciated.
Thanks in advance for your help.

There is nothing written in stone that defines An Idiot With A Camera and a pro. And who are we to make up the rules of who is or is not either. The Famous Weebee (look him up) took all his shots at 1/200th - distance 10' and a Press Flash not sure what film he used. I had a Wedding Photographer that did a similar thing. She would have her husband set up her camera and flash (auto) and change the film for her. She got great pictures and charged above average prices and had all the business she could handle. Maybe a camera idiot but she didn't. Some time ago we had a new Hog ask a very basic question and one of our resident trolls looked up some pictures he was selling on the net. One of our other hogs looked up the info on his pictures and they were all taken on Auto. Another Idiot With A Camera? I know others that are very knowledgeable about how cameras work - Know all about exposure = rule of thirds - etc -etc. But don't take pictures worth beans. Time to stop putting folks in pidgin holes and just enjoy their work - Help when we can- Learn when we can. - Dave

The topic of Manual vs Auto has been discussed many times on UHH, and the opinions range from the pragmatic "Manual is just another shooting mode on the camera that is to be used when appropriate" to the almost paranoid "If you don't shoot 'full manual' all the time you don't yet understand photography. Period!!!" So I am curious to know what the good folks on UHH think constitutes full manual shooting; and is there perhaps a grey area where one can shoot semi-manual without being labelled a P&S user?

Today's cameras are rich with bells and whistles, so to frame the discussion let's put aside all of the in-camera picture effects such as toy camera, pop color, posterization, miniature, etc, as well as the creative styles or scene








modes like sports, portrait, landscape, macro, sunset, beach, night scene, etc. The picture effects essentially provide pre-programmed PP manipulations that can be better done on the computer, while the creative styles set several shooting parameters that clearly put the user in the "auto camp". What we are left with then are a small collection of shooting features like auto-focus, single/continuous shooting, auto bracketing, etc, and the "biggie" of exposure control.





Starting with exposure control, is "full manual" restricted to not using ANY of the camera's "assistive" capabilities? Clearly the mode dial setting is "M" and I will be manually selecting f-stop, shutter speed and ISO to balance the exposure triangle. But can I use the camera's meter as a guide or do I have to estimate the exposure based only on my guess at how the lighting situation has changed from sunny f/16? I suppose it is OK to chimp the image on the LCD screen to see if further adjustments to exposure are warranted… or is it?

If my camera supports auto-ISO in M mode, is it acceptable to take advantage of it as I play liberally and creatively with shutter speed and f-stop, or do I still have to manually set all 3 of the exposure parameters to proclaim myself a full manual shooter? Again, can I use the camera meter as a guide (in this case for setting ISO), or not?

Still in M mode, if my camera does not support auto-ISO then I will select an ISO value (call it fixed-ISO) that is a compromise between light sensitivity and noise. I will then choose either shutter speed or f-stop as the primary controlled parameter, and I will adjust the f-stop or shutter speed, respectively, as the secondary parameter to get an appropriate exposure. Again, can I use the camera meter as a guide for setting that secondary parameter? I will assume it is OK to chimp.

In the fixed-ISO case, if I am permitted to use the camera meter to recommend a setting for the secondary parameter AND I choose to manually set exactly that value, then how is this any different from using either aperture or shutter priority mode to set the primary parameter and simply letting the camera set the secondary parameter automatically? In other words, can I use A or S modes and still claim to be shooting manually because I have consciously set the primary parameter, or has moving the mode dial away from the magic M put me in the "auto camp"?

If I select P mode (and a manually fixed-ISO) then I have essentially given shutter speed and f-stop selection to the camera and I would admit that I am now shooting auto, not manual. However, I can spin a control wheel in P mode to "shift the program" to new values of shutter speed and f-stop. Am I now back to being a manual shooter because I have exercised a modicum of control over the camera's default settings? Or am I in the grey zone of semi-manual and/or semi-automatic?

Beyond P, A, S & M we have modes like Auto, i-Auto or Auto+ where we have virtually no control over anything other than perhaps activating the flash. That I would agree is shooting in "full-auto" mode.

Going beyond exposure control, does using features like auto-focus, single/continuous shooting, auto bracketing, etc, violate the principles of full manual shooting, or are these features fair game because the manual/auto camp criteria are limited to exposure control?

By now you have probably discerned that I do not fall into the purist "full-manual-all-the-time" camp. I use many of the features built into my camera, especially the exposure meter, to get as close to the final image as I can SOOC. I would even go so far as to say that I have often captured excellent photos because I let the camera do the heavy lifting, sometimes even in "full-auto" mode, and had I tried to override the automatic-split-second-decision-making-capabilities that are built into my camera I might have missed a great shot.

Full-manual shooters… load your weapons and fire away.

All others… show your support and stand by me. If you manage to capture a great shot by some means you will have achieved your goal and will not be a lesser person.

Many of you...probably most of you...have never heard these expressions used by some of us old geezers as we grew up during the 30s and the 40s.

OLD WORDS AND PHRASES

by Richard Lederer (A remarkable linguist)



About a month ago, I illuminated old expressions that have become obsolete because of the inexorable march of technology. These phrases included ‘ don't touch that dial ’ , carbon copy, ‘ you sound like a broken record ’ and ‘ hung out to dry ’ . A bevy of readers have asked me to shine light on more faded words and expressions, and I am happy to oblige:

Back in the ‘olden’ days we had a lot of moxie. We'd put on our best bib and tucker and straighten up and fly right. Hubba-hubba! We'd cut a rug in some juke joint and then go necking and petting and smooching and spooning and billing and cooing and pitching woo in hot rods and jalopies in some passion pit or lovers' lane. Heavens to Betsy! Gee whillikers! Jumping Jehoshaphat! Holy moley! We were In like Flynn and living the life of Riley, and even a regular guy couldn't accuse us of being a knucklehead, a nincompoop or a pill. Not for all the tea in China!

Back in the olden days, life used to be swell, but when's the last time anything was swell? Swell has gone the way of beehives, pageboys and the D.A.; of spats, knickers, fedoras, poodle skirts, saddle shoes and pedal pushers. Oh, my aching back. Kilroy was here, but he isn't anymore.

Like Washington Irving's Rip Van Winkle and Kurt Vonnegut's Billy Pilgrim, we have become unstuck in time. We wake up from what surely has been just a short nap, and before we can say, I'll be a monkey's uncle!‚ or This is a fine kettle of fish! We discover that the words we grew up with, the words that seemed omnipresent as oxygen, have vanished with scarcely a notice from our tongues and our pens and our keyboards.

Poof, poof, poof go the words of our youth, the words we've left behind. We blink, and they're gone, evanesced from the landscape and wordscape of our perception, like Mickey Mouse wristwatches, hula hoops, skate keys, candy cigarettes, little wax bottles of colored sugar water and an organ grinder's monkey.

Where have all those phrases gone? Long time passing. Where have all those phrases gone? Long time ago: Pshaw. The milkman did it. Think about the starving Armenians. Bigger than a bread box. Banned in Boston. The very idea! It's your nickel. Don't forget to pull the chain. Knee high to a grasshopper. Turn-of-the-century. Iron curtain. Domino theory. Fail safe. Civil defense. Fiddlesticks! You look like the wreck of the Hesperus. Cooties. Going like sixty. I'll see you in the funny papers. Don't take any wooden nickels. Heavens to Murgatroyd! And awa-a-ay we go!

Oh, my stars and garters! It turns out there are more of these lost words and expressions than Carter had liver pills.

This can be disturbing stuff, this winking out of the words of our youth, these words that lodge in our heart's deep core. But just as one never steps into the same river twice, one cannot step into the same language twice. Even as one enters, words are swept downstream into the past, forever making a different river.

We of a certain age have been blessed to live in changeful times. For a child each new word is like a shiny toy, a toy that has no age. We at the other end of the chronological arc have the advantage of remembering there are words that once did not exist and there were words that once strutted their hour upon the earthly stage and now are heard no more, except in our collective memory. It's one of the greatest advantages of aging. We can have archaic and eat it, too.

Cameras are not the only recording media. I love to listen to music, as do many other Hoggers, I'm sure. My first records were, believe it or not, Edison cylinders, which were followed by 78-rpm shellac discs, then several speeds of vinyl LP records, then reel-to-reel and 8-track and cassette audio tapes, then VHS and Sony Beta audio/video tapes, then digital compact discs, then DVD discs -- and my grand-daughter (a professional classical violinist) told me that none of those are used anymore. Some kind of little digital card stores a zillion musical performances. I've got about 2,000 LPs that I love to listen to, although I have about a thousand CDs as well. Of course, none of the "advances" are compatible with each other.

Anyway, you still need eyes to see photos, and ears to hear music. I really shouldn't complain -- I spent the final 15 years of my working life at AT&T Bell Labs with the scientists who created all these technologies. Personally, I don't even own a cell phone, much less an I-phone, although I am obviously entering this message on a computer (desktop - I'm not keen on tablets).